the_wiki_of_noobfandomcom-20200215-history
User blog:Cfp3157/Film Review: "BlacKKKlansman" is an Incendiary Firebrand of Satire, Performance, and Criticism
Decidedly realistic and grounded, yet oftentimes hilarious and incredibly over-the-top, BlacKKKlansman is a brazenly thorough Spike Lee joint that can and will often leave viewers with moments of uncomfortable self-reflection. Thanks in large part to Lee's surprising level of restraint in key moments and his stellar cast assembled, the potential for a preachy and self-righteous film is thankfully avoided and instead creates a film that is at the same time fun and heavy. Lee chooses to tackle a lot with his ambitious choices as a director and screenwriter; somehow, he never stumbles. The Cast Anchored by an electric performance by a charismatic and unrecognizable John David Washington, BlacKKKlansman 's appeal will primarily lie within its cast. As its lead, John David Washington is instantly chameleonic and proves he has earned his father's name. He is both charismatic and introspective, exuding confidence in one moment while throwing shadows of self doubt and conflict of identity the next frame. Not only is Washington an enjoyable lead to watch, he's also bringing quality to the role as well. When it comes to other big names, Adam Driver is subtly the best in show. His soft-spoken, matter-of-the-fact demeanor and body language suggest a typical stoicism, but he also displays a fiery, defiantly quiet rage as the film goes on and his character progresses in his journey. Driver gets to display moments of raw energy, but oftentimes its his silences that speak louder. Laurene Harrier is nearly unrecognizable in this film, oozing charisma, sass, and likeability that ought to make her a star. Where the film truly shines is in its larger, lesser known ensemble. Harry Belafonte delivers what is easily one of the most affecting and touching monologues of the year, his screentime limited but unforgettable. The same can be said for Topher Grace as David Duke, with his own quiet, civilized personality making him a terrifyingly likeable monster. Paul Walter Hauser, Jasper Paakkonen, and Ryan Eggold all play different colors of racist bigotry with efficiency and, somehow, empathy; Hauser is the bumbling, stereotypical hick that one can't help but laugh with, Paakkonen is the virulently hateful and violent wild card who packs a destructively magnetic charm, and Eggold inhabits the subtle, enlightened sense of superiority that makes itself present in most people today. All three of these notable Klan members, along with the bigger names of the cast, make BlacKKKlansman an unrivaled ensemble. Score: 5 out of 5 The Story Penned by four different screenwriters, BlacKKKlansman suffers only slightly under the consequence of it. The most prevalent voice in the script is Spike Lee's own, with his typical incendiary story choices often disguised with clever wit, effective plot, and interesting characters. Only occasionally does this lapse, often with forced, almost too-smart shoves towards the modern day that try to winks but come off more as yells. Despite that, however, Lee and his fellow writers keep the criticism to a respectable blend of timeliness and universality. The film is the story of Ron Stallworth, the first African-American police officer in Colorado Springs. After a brief, frustrating stint in the records department, Stallworth is reassigned to the intelligence division after he is ordered to go undercover to a rally led by Kwame Ture. Stallworth, on a whim, decides to call the local Ku Klux Klan leader after noticing an ad, and with the help of ethnically Jewish officer Phillip "Flip" Zimmerman as his body double, infiltrates the Ku Klux Klan. The script chooses to tackle a variety of conflicts, not just the typical themes of racism and bigotry. While those are present, Lee and company choose to take a more interesting and all-around better path as it becomes a film about identity. As Stallworth and Flip each struggle with how they accept their identities, while characters like Patrice, Walter, and Felix flaunt their own racial pride without hesitation, it becomes an abundantly gripping struggle as the two detectives face assaults on their character both within themselves and from outside forces. Score: 4.5 out of 5 The Direction Firstly and foremost, Spike Lee is forever one of the most audacious and brazenly self-spoken filmmakers working in the film industry. His voice is passionate, loud, and clear, allowing his identity to truly define himself as a filmmaker. He uses and acknowledges film as a defining force in culture, while also using the unique narrative capabilities of film to echo his sentiments. For example, as Kwame Ture speaks to a crowd about black beauty, Lee and his editor craft an emotional, inspiring mirage of black faces; meanwhile, during a showing of the infamous Birth of a Nation for the newly inducted Klan members, the film intercuts a small student gathering listen to the tales of an old man who lived in the most violent days of Jim Crow. On a technical level, Lee maintains a respectable and oftentimes powerful hand. His cinematographer Chayse Irvin works perfectly in sync with Lee's vision, moving and slugging along through with efficacy and skill. Marci Rodgers as the costume designer probably stands out the most, with her interpretation of 1970's black culture often contrasting with the middle-American style of the Klan members everyday garments. Hair and makeup department deserve praise as well, thanks to the passionate work from LaWanda Pierre and Martha Melendez bringing that same culture and influence well to the screen. If there's a flaw on this front, it's oftentimes thanks to editor Barry Alexander Brown. He often makes the film feel slightly longer than it is, although this is partially thanks to the script Lee wrote providing moments of set-up that need to placed for pay-off. His editing flaws are more apparent in simply strange cut placement, with several notable moments where the exact same action is replayed simply from a different angle. While none of the editing is aggressively bad, there are a few moments that immediately distract and withdraw viewers from the experience. Score: 4.5 out of 5 Final Verdict Energetic, powerful, and absolutely ruthless in its judgement of the past and present, BlacKKKlansman has a certain firebrand intelligence that makes it a difficult but somehow entertaining watch. Thanks in large part to its dynamic cast and Lee's strong, unyielding hand behind the camera. the film more than compensates for its at times too clever for its own good screenplay and some mediocre moments of editing. Final Score: 93% Potential Ballot Spots: *Best Picture *Best Director - Spike Lee *Best Lead Actor - John David Washington *Best Supporting Actor - Adam Driver *Best Supporting Actor - Ryan Eggold (in a weaker year) *Best Supporting Actress - Lauren Harris (in a weaker year) *Best Adapted Screenplay *Best Costume Design *Best Limited Male Performance - Harry Belafonte Category:Blog posts Category:2018 Reviews Category:Reviews